sam bush models

[GTison]

I went to a fest last week and of the top (known) bands 3 of the mando players had sam bush gibsons. I just thought that was interesting. Cherryholms, James king band, Marty Rabon. I really liked the tone the guy in the Mary Rabon got from his it was brand new 04.

[Scotti Adams]

..no doubt they are an endorsement deal..the best sounding new Bush that I have heard belongs to Jesse Brock..that thing kicks some major hiney...

Hey Scotti......Jesse could make an MK kick hiney.... http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

[Scotti Adams]

..yup..

[PCypert]

Would there be any way of finding out if they record with them or generally use other mandos while not onstage? Also, what kind of profit do you make besides the new mando to endorse a product like that? I've always wondered about this. I remember as a kid thiking it would be kind of cool to get the Jimi Hendrix sig strat. But then I was like it's not his strat and I'm not Jimi so what's the point? Oh well.
Paul

[Big Joe]

As we stated in a different post. We do not pay ANYONE to play our products. They play them because they like them. If a pro does not like the tool he's using he won't use it. Money is not much of an issue.

[Scotti Adams]

..good to see you back Joe..hope alls well with you..

[moxledb]

As we stated in a different post. We do not pay ANYONE to play our products. They play them because they like them. If a pro does not like the tool he's using he won't use it. Money is not much of an issue.
OK, wait a minute...just to be clear.... While the player may not actually be paid in cash $, he is given a free mandolin , right? Which he is obligated to play for a period of time, right? Which he can then sell and then keep the proceeds, right? The fact of the matter is that money is an issue. For a sideman in a band making a whole $12 to $15K per year, I'd say the prospect of a free mandolin that allows him to sell his current instrument and generate much needed cash flow is pretty tempting. So, while Gibson may not actually be paying someone cash to play their instruments, to say that you do not pay anyone may be a bit of a stretch. Also, I would imagine that there is some type of additional compensation for the artists whose name appears on the artist models. I can't imagine that Sam Bush, Adam Steffey, Wayne Benson, et al. allow their names to be placed a product without some form of compensation.

[Charlie Derrington]

A signature artist is different than an endorsement.

Of course there is a payment agreement between us and signature artists. However, if we give an instrument as an endorsement, and, if the artist decides not to play the instrument, they are to return the instrument to us.

No stretch....end of story.

Charlie

[LeftCoastMark]

Lord, I love them pricey Gibson's. Why you so good to us, Lord? And why would anyone ever build mandolins anyway, Lord, cause they're always skating on thin ice, right Lord? Please help those who help themselves, Lord, and if it be in your will, please unplug the PA.

[Charlie Derrington]

Amen.

[sunburst]

if we give an instrument as an endorsement, and, if the artist decides not to play the instrument, they are to return the instrument to us.
A player that was given a Gibson mandolin offered it to me in trade for one of mine. Was he out of line? We never settled on a deal, but I'd like to know what to do if the situation comes up again.

[LeftCoastMark]

If it's a good deal, pal, don't be precious.

[BigJoe]

AN artist may have an endorsement deal but not be given a mandolin. I hear people tell me about how we GAVE an instrument to so and so and that is not always the truth. Gave can have several meanings other than the one it sounds like. It could be we GAVE them the instrument at a good price or GAVE them the instrument for artist pricing or it could be we provided the instrument for their use but title remains with us. If they bought it for cash, they can do what they want. If we did not get cash for it, it is ours but theirs to use until they decide they no longer like that instrument. So, it depends upon what kind of "Gave" the player got as to whether there are any strings. We provide precious few without any money paid. Most of those that play them buy them.

[GTison]

while at the festival i did hear rumors about gibson "giving" 2 of the 3 bush mandolins. Mrs. cherrieholms was one and the other was a guy substituting with james king. the substitute guy had the brand new bush I told him I like the sound it put forth. the others were just ok but their technique was a little 'different'. Cherriehoms' was getting a worn place on the top I bet it wasn't a loaner.

[Tony Sz]

Maybe I'm missing something here, but as far as I'm comcerned, when I see someone playing ANY mandolin, I'm most concerned with whether or not I like what I'm hearing. How he or she got the mandolin is somewhat irrevelant. Everybody comes to there particular instruments in their own way, to some extent. Herschel Sizemore has a few Loars that he aquired over the years, and I don't know for sure how each was aquired, but if he didn't have one today, I wonder if he'd pay $100,000 to get each of the ones he now has. I personally don't find how one aquires his instrument to be nearly as important as what they're playing to get the sound they get. If Gibson gets some mandos in the hands of players, and others can hear the result, I'd hope the listener would make some judgements based on what they heard, and go from there. And that being said, I also think that even if I liked what one player does with any instrument, that before I laid down 5 grand, give or take, that I would play that model personally and make up my own mind. I wonder just how many players out there play a model just because someone else plays it.

[mandomick]

AN artist may have an endorsement deal but not be given a mandolin. #I hear people tell me about how we GAVE an instrument to so and so and that is not always the truth. #Gave can have several meanings other than the one it sounds like. #It could be we GAVE them the instrument at a good price or GAVE them the instrument for artist pricing or it could be we provided the instrument for their use but title remains with us. #If they bought it for cash, they can do what they want. #If we did not get cash for it, it is ours but theirs to use until they decide they no longer like that instrument. #So, it depends upon what kind of "Gave" the player got as to whether there are any strings. #We provide precious few without any money paid. #Most of those that play them buy them.
Sounds an awful lot like "It all depends on what your definition of is, is". http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[mandopaul]

[QUOTE]So, it depends upon what kind of "Gave" the player got as to whether there are any strings.

Gee, I hope there are strings, how the heck are ya gonna play the dang thing? http://www.mandolincafe.net/iB_html/non-cgi/emoticons/rock.gif

[GTison]

I agree tony.

I wrote the wrong thing it was the guy with rabon that had the new bush. the guy with king's was beat too.

I did only admire the playing of the guy with rabon. Like the perlman or someone once said after hearing him play 'I love the sound of your instrument' he held it up to his ear and said 'funny I don't hear anything'.

[Wando]

On the subject of the Sam Bush mando itself...I got a chance to play a few different Gibsons, and the Bush seemed to have the widest fingerboard. #Is it wider than other Gibsons? #The Sam Bush was by far my favorite and heads up my mando "wish list".

[Big Joe]

Yes, Wando, the Bush does have the widest neck of the Gibson's. It truly is a great mandolin with plenty of power. The extra mass to the neck seems to give it the sound that is so identifiable as the Bush sound.

[flatthead]

Maybe I'm out of line here, but I don't think it's any of our business who Gibson (or Huber, Stelling, Weber, etc) gives an instrument to. I think it's between the company and the "endorser". I would assume that it is a business agreement and should be treated as such. If the "endorser" is required to play the instrument 80% of the time (on stage) and he or she doesn't, the company has the right to take the instrument back. If, at the end of a specified time period, the company lets the endorser have (keep) the instrument (say, maybe 3 years) and there is no stipulation that the instrument can't be sold, then so be it.

Now, back to practicing....

Best to all

Jim Rollins

[KevinM]

None of these guys are playing a Gibson mandolin because it's free. They're playing it because it's a great instrument and it's free.

-Available for any sort of Gibson mandolin endorsement arrangement - let's not "dis" those F5Gs now.